Kennesaw State University College of the Arts School of Music

presents

Senior Recital

Jennifer Olenic, mezzo-soprano

Brenda Brent, piano

Friday, April 26, 2013 8:00 p.m. Dr. Bobbie Bailey & Family Performance Center Morgan Concert Hall One Hundred Twenty-seventh Concert of the 2012-2013 Season Kennesaw State University School of Music Audrey B. and Jack E. Morgan, Sr. Concert Hall April 26, 2013 I Verdi prati from (1685-1759) Finchè lo strale from Floridante II In der Fremde (Eichendorff) Robert Schumann (1810-1856) Waldesgespräch (Eichendorff)

Ständchen (Kugler) Johannes Brahms (1833-1897) Die Mainacht (Hölty) III Ouvre ton coeur (Delâtre) Georges Bizet (1838-1875) L’heure exquise (Verlaine) Reynaldo Hahn (1874-1947) D’une prison (Verlaine)

Guitare (Hugo) Georges Bizet (1838-1875) IV Connais-tu le pays Ambroise Thomas from Mignon (1811-1896)

V From The Hermit Songs, Op. 29 Samuel Barber (1910-1981) St. Ita’s Vision The Crucifixion The Praises of God The Monk and His Cat Sea-Snatch VI Old Mother Hubbard (Trad.) Victor Hely-Hutchinson (1901-1947)

This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Ms. Olenic studies voice with Jana Young. George Frideric Handel - Verdi prati (Alcina) George Frideric Handel was born in Halle, Germany in 1685. His father, a barber, wanted him to become a lawyer, but by age 12, young Handel was already show- ing a great interest in music, having already mastered several instruments. He composed more than 40 Italian operas, as well as an immense amount of church and chamber music, as well as oratorios, The being his most famous. Alcina is a three act opera, set to a by an anonymous author, which pre- miered at Covent Garden in London in 1735. Alcina, a sorceress, uses magic to lure heroes to her island, where she turns them into rocks, trees, streams, or wild animals. Ruggiero, a knight, is the latest of her victims; however, another character is able to show Ruggiero that the beautiful scenery he sees is all a lie conjured by Alcina’s magic before it is too late. This aria is Ruggiero’s farewell to the beautiful illusion of the island. Verdi prati, selve amene, Green meadows, lovely woods Perderete la beltà You will lose your beauty Vaghi fior, correnti rivi, Pretty flowers, rapid brooks, La vaghezza, la bellezza, Your charm and beauty Presto in voi si cangerà. Will soon change. E cangiato il vago oggetto The beautiful object has changed, All’orror del primo aspetto To the dismay of the first glance, Tutto in voi ritornerà. Then everything will return in you.

George Frideric Handel - Finchè lo strale (Floridante) Floridante is a three-act opera to a libretto by Paolo Antonio Rolli, which premiered at the King’s Theatre in London in 1721. It is based on another libretto, Francesco Silvani’s La costanza in trifono. Originally, the story was set in Norway, but Rolli chose to set the action in a Middle Eastern setting in his adaptation. This aria is sung by Oronte, who has obtained the Persian throne by murdering the previous King, Nino, amidst the political intrigue surrounding his family. Finchè lo strale Until the arrow Non giunge al segno Reaches the target Pensier regale, nò, non si sà. The royal thoughts will not be known. Chi non discopre Who learns not L’idee d’un regno, The purpose of a reign Il corso all’opre Will not know Non troverà. How to reach the goal.

Robert Schumann - In der Fremde (Eichendorff Liederkreis) Robert Schumann was a German composer and music critic during the Romantic period, today best known for his piano works and lieder, although he wrote for nearly all musical genres. In his songs, Schumann strove to make the voice and piano equal partners in the music, and, as a lover of literature, was very discrimi- nating with the poetry he chose to set and how he chose to set it. The Eichendorff Liederkreis is a song cycle to poems by Joseph Freiherr von Eichendorff, primarily selected by his then-fiance, Clara Wieck, which was composed during the summer of Schumann’s Liederjahr in 1840, a year in which he wrote 168 songs and married Clara, despite the disapproval and threats of disownment from her family. In der Fremde In a Foreign Land

Aus der Heimath hinter den Blitzen- From the direction of home, behind the red roth flashes of lightning Da kommen die Wolken her. There come clouds, Aber Vater und Mutter sing lange todt, But Father and Mother are long dead; Es kennt mich dort Keiner mehr. No one there knows me anymore.

Wie bald, wie bald kommt die stille How soon, ah, how soon will that quiet Zeit, time come, Da ruhe ich auch, und über mir When I too shall rest, and over me Rauscht die schöne Waldeinsamkeit, The beautiful forest’s loneliness shall rustle, Und Keiner kennt mich mehr hier. And no one here shall know my anymore.

Robert Schumann - Waldesgespräch (Eichendorff Liederkreis) Waldesgespräch, meaning forest conversation, tells the story of an unfortunate man who, while walking in the woods, happens to come across Loreley, a figure of German mythology similar to a siren, who lures unwitting sailors to their death in the Rhine river because she was betrayed by her lover in life. This song has two contrasting musical styles to differentiate the two characters: bouncy and rhyth- mic for the man, and flowing and enchanting for Loreley.

Waldesgespräch Forest Conversation

Es ist schon spät, es ist schon kalt, It is already late, it is already cold; Was reit’st du einsam durch den Wald? Why do you ride alone through the wood? Der Wald ist lang, du bist allein, The wood is vast and you are alone, Du schöne Braut, ich führ’ dicheim! You fair bride! I will lead you home.

Gross ist der Männer Trug und List, Great are the deceits and cunning of men; Vor Schmerz mein Herz gebrochen ist, my heart has broken for pain. Wohl irrt das Waldhorn her und The forest horn strays here and there, hin, O flieh’, du weisst nicht, wer ich bin. O flee! You do not know who I am.

So reich geschmückt ist Ross und So richly decked are mount and lady, Weib, So wunderschön der junge Leib, so wondrously fair the young form; Jetzt kenn’ ich dich, Gott steh’ mir bei, now I recognize you – God stand by me! Du bist die Hexe Loreley! You are the Witch Loreley.

Du kennst mich wohl, von hohem You recognize me well – from the lofty Stein cliffs Schaut still mein Schlosstief in den my castle gazes down into the Rhine. Rhein; Es ist schon spät, es ist schon kalt, It is already late, it is already cold - Kommst nimmermehr aus diesem You shall never again leave this wood. Wald. Johannes Brahms - Ständchen Johannes Brahms was a German Romantic composer, known for his choral, or- chestral and larger chamber works, as well as his work in smaller forms, including solo piano pieces and lieder. During his lifetime, he published 190 solo lieder, as well as 20 duets, 60 vocal quartets for solo voices, 5 songs for one or two voices, and two songs with obbligato viola. These numbers do not reflect the numerous songs that he wrote in his youth which were never published. Brahms has been criticized for his choice of texts, taken not only from well-known poets like Goethe, Eichendorff, and Hölty, but also minor poets of his time, in- cluding Franz Theodor Kugler, who was relatively unknown. This was because Brahms felt that in order to set a poem to music, he needed to feel that the music would have something to add to it, and in the case of many of Goethe’s works, they were so perfect that they could not be enhanced by his music.

Ständchen Serenade

Der Mond steht über dem Berge, The moon is above the mountain, So recht für verliebte Leut; Just right for people in love. Im Garten rieselt ein Brunnen, In the garden trickles a fountain; Sonst Stille weit und breit. Otherwise, silence is far and wide.

Neben der Mauer im Schatten, By the wall, in the shadows, Da stehn der Studenten drei Stand three students Mit Flöt und Geig und Zither, With flute and fiddle and zither, Und singen und spielen dabei. Singing and playing to their singing.

Die Klänge schleicheln der Schönsten The sounds steal softly into the Sacht in den Traum hinein, Most beautiful girl’s dream; Si schaut den blonden Geliebten She sees her blond sweetheart Und lispelt: “Vergiss nicht mein!“ And whispers “Forget me not!“

Johannes Brahms - Die Mainacht This poem was written by Ludwig Heinrich Christoph Hölty, an 18th century Ger- man poet who wrote about a love of nature, national feeling, and the idea of prais- ing love and friendship without their superficiality. Brahms‘ setting of this poem does not include the second stanza of the original work, in order to attain the sense of symmetry in the form, which unites aspects of strophic, developing variation, and ternary forms.

Die Mainacht The May Night

Wann der silberne Mond durch die When the silvery moon gleams through the Gesträuche blinkt shrubbery Und sein schlummerndes Licht über And scatters its slumbering light over the den Rasen streut, grass, Und die Nachtigall flötet, And the nightengale warbles, Wandl ich traurig von Busch zu Busch. I wander sadly from bush to bush. Überhüllet vom Laub girret ein Shrouded by foliage, a pair of doves coos Taubenpaar Sein Entzücken mir vor; aber ich Their enchantment in front of me, but I wende mich, turn away – Suche dunklere Schatten, I seek darker shadows, Und die einsame Träne rinnt. And the solitary tear falls.

Wann, o lächelndes Bild, welches wie When, o smiling image, which like the Morgenrot sunrise Durch die Seele mir strahlt, find ich Beams through my soul, shall I find you auf Erden dich? on earth? Und die einsame Träne And the solitary tear Bebt mir heisser die Wang herab. Trembles more hotly down my cheek.

Georges Bizet - Ouvre ton cœur Bizet was a French Romantic composer, known primarily for his opera Carmen, which has enjoyed massive success since its premier three months before Bizet’s untimely death at age 36. He published some two dozen songs in his lifetime, although several of his earlier songs remaining unpublished, intended as compo- sitional exercises rather than pieces for performance. “Ouvre ton coeur” started as part of a larger work, Vasco de Gama, which is now virtually unknown. The poetry by Delâtre was written specifically for this work at Bizet’s request. “Ouvre ton coeur” was published separately posthumously, and its guitar-like accompani- ment and Spanish bolero rhythmic and melodic flair seem to point towards Car- men.

Ouvre ton cœur Open your heart La marguerite a fermé sa corolle, The daisy has close its flowery crown, L’ombre a fermé les yeux du jour. Twilight has closed the eyes of the day, Belle, me tiendras-tu parole? My lovely beauty, will you keep your word? Ouvre ton cœur à mon amour. Open your heart to my love.

Ouvre ton cœur, ô jeune ange, à ma Open your heart to my desire, young angel flamme, Qu’en rêve charme ton sommeil. May a dream charm your slumber. Je veux reprendre mon âme, I want to take back my soul Comme une fleur s’ouvre au soleil! As a flower opens to the sun!

Reynaldo Hahn - L’heure exquise (Chansons griges) Reynaldo Hahn was born in Venezuela but moved to Paris with his family shortly before he turned four. He soon began to attract attention as a pianist, making his debut at age 6 at a musical soiree held by Napoleon’s niece. In 1885, he entered the Paris Conservatoire, where his teachers included Massenet. It was there that he composed Si mes vers avaient des ailes, which brought him early attention. Hahn took French nationality in 1909 and volunteered to fight in World War I. His music enjoyed its greatest commercial success in the 1920’s, but fell out of favor in the 50’s and 60’s. It was only in the 70’s that his work began attracting attention in the musical world once again. His music was banned in Nazi Germany because Hahn’s family was part Jewish. “L’heure exquise” is from a song cycle based on Verlaine’s poetry, composed by Hahn between 1887-1890, while he was still studying at the Paris Conservatiore. It was first performed by Sybil Sanderson, Massenet’s favorite soprano, with Ver- laine himself present.

L’heure exquise The Exquisite Hour La lune blanche luit dans les bois, The white moon shines in the forest, De chaque branche part une voix From every branch comes a voice, Sous la ramée, Under the foliage, O bien-aimée! Oh beloved! L’étang reflète, profond miroir, The pond, a deep mirror, reflects La silhouette du saule noir The silhouette of the dark willow, Où le vent pleure. In which the wind is crying. Rêvons, c’est l’heure! Let us dream, ‘tis the hour! Un vaste et tendre apaisement A vast and tender calm Semble descendre du firmament Seems to descend from the firmament, Que l’astre irise; Which the orb clads in rainbow colours; C’est l’heure exquise! ‘Tis the exquisite hour!

Reynaldo Hahn - D’une prison Paul Verlaine was a late 19th century French poet whose work has been set to music by Debussy, Fauré, and many others. He famously wrote “De la musique avant toute chose”, music above all else, which is evidenced by his attention to the lyrical and rhythmic qualities of his verses. This song is a setting of the second half of Verlaine’s “Mes prisons”, which is perhaps an autobiographical account of Verlaine’s eighteen months in prison after shooting at and injuring a boy he was having an affair with, during which he abandoned his previous bohemian lifestyle and converted to Catholicism.

D’une prison Of a Prison Le ciel est par-dessus le toit, si bleu, si The sky above the roof is so blue, so calm… calme… Un arbre, par-dessus le toit berce sa A tree above the roof gently rocks its top… palme… La cloche dans le ciel qu’on voit, The bell one sees in the sky, softly rings doucement tinte, Un oiseau sur l’arbre qu’on voit, The bird one sees in the tree, plaintifully chante sa plainte… sings… Mon Dieu! La vie est là simple et My Lord! The life there is simple and tranquille! quiet! Cette paisible rumeur là vient de la This peaceful rumble comes from the ville… city… Qu’as-tu fait, ô toi que voilà pleurant What have you done, oh you, who now sans cesse, weeps endlessly, Dis! qu’as-tu fait, toi que voilà, de ta Say! what have you done with your youth? jeunesse? Georges Bizet - Guitare Victor Hugo was an extremely significant French poet and political satirist during the 19th century. His verses were set by many composers; this particular poem has been set by Massé, Saint-Saëns, Liszt, and Lalo, as well as Bizet, although Bizet’s remains the most well-known. This song also makes great use of the Spanish bolero rhythm, and that, combined with Bizet’s added “tra-la-la” lyrics, combine to give an exuberant and uninhibited impression to the protagonist, again looking towards Carmen.

Comment, disaient-ils, Tell us, said the men Avec nos nacelles, With our small skiffs Fuir les alguazils? Can we flee from the alguazils? --Ramez, disaient-elles. --Row, said the fair ones. Comment, disaient-ils, How, said the men Oublier querelles, Can we forget quarrels, Misère et perils? Poverty and danger? --Dormes, disaient-elles. --Sleep, said the fair ones. Comment, disaient-ils, How, said the men Enchanter les belles Can we enchant beauties Sans philtres subtils? Without rare potions? --Aimez, disaient-elles. --Love, said the fair ones.

Ambroise Thomas - Connais-tu le pays (Mignon) Ambroise Thomas was a 19th century French composer, mostly known for his operas. He came from a very musical family and learned to play both piano and violin from a young age. At age 17, he entered the Paris Conservatoire, and in 1832, he won the Prix de Rome with his cantata Hermann et Ketty. In 1835, Thomas began to turn his attention to opera. Between 1837 and 1843, Thomas had eight operas performed, with varying success. Later on in his life he went on to com- pose Hamlet and Mignon, both of which are still performed by major opera houses today. Mignon is set to a libretto by Barbier and Carré based on Goethe’s novel, Wilhelm Meister Lehrjahr, albeit with some alterations, including making Mignon the main character and inserting a happy ending, in order to better fit the conventions of opéra comique. The opera enjoyed immediate success, due in large part to the per- formance of Célestine Galli-Marié, who created the role of Mignon, and later the role of Carmen. Mignon, a young woman, was stolen by gypsies from her home at a young age. In this aria, she reminisces about her half-forgotten homeland, and wishes to return, knowing that she cannot.

Connais-tu le pays où fleurit l’oranger? Do you know the land where the orange tree blossoms? Le pays des fruits d’or et des roses The country of golden fruits and marvel- merveilles, ous roses Où la brise est plus douce et l’oiseau Where the breeze is softer and birds lighter, plus léger, Où dans toute saison butinent les Where the bees gather pollen in every abeilles, season, Où rayonne et sourit, comme un bien- And where shines and smiles, like a gift fait de Dieu, from God, Un éternel printemps sous un ciel An eternal springtime under an ever-blue toujours bleu! sky! Hélas! Que ne puis-je te suivre Alas! But I cannot follow you Vers ce rivage heureux d’où le sort To that happy shore from which fate has m’exila! exiled me! C’est là! C’est là que je voudrais vivre, There! It is there that I should like to live, Aimer, aimer et mourir! To love, to love, and to die!

C’est là que je voudrais vivre, c’est là, It is there that I should like to live, it is there, oui, c’est là! Yes, there!

Connais-tu la maison où l’on m’attend Do you know the house there where I am là-bas? awaited? La salle aux lambris d’or, où des hom- The gold-paneled room where men made mes de marbre of marble M’appellent dans la nuit en me ten- Call to me at night, reaching their arms dant les bras? out to me? Et la cour où l’on danse à l’ombre d’un And the courtyard where people dance in grand arbre? the shadow of a great tree?

Et le lac transparent où glissent sur les And the lake upon whose limpid waters eaux Mille bateaux légers pareils à des A thousand light boats glide like birds? oiseaux? Hélas! Que ne puis-je te suivre Alas! But I cannot follow you Vers ce pays lointain d’où le sort To that distant land from which fate has m’exila! exiled me! C’est là! C’est là que je voudrais vivre, There! It is there that I should like to live, Aimer, aimer et mourir! To love, to love, and to die! C’est là que je voudrais vivre, c’est là, It is there that I should like to live, it is there, oui, c’est là! Yes, there!

Samuel Barber - The Hermit Songs Samuel Barber is one of the most famous American composers of the 20th century. His pieces, including at least one in almost every genre, enjoyed great success both throughout his lifetime and posthumously. His music is expressive and lyrical, following in the tonal language and many forms of late 19th century music. The Hermit Songs is a cycle consisting of ten songs, based on comments written in the margins of medieval manuscripts by Irish monks from the 8th-13th centuries. It was commissioned by Elizabeth Sprague Coolidge, an American pianist and mu- sic patron, and first sung by Leontyne Price in 1953. The Hermit Songs is consid- ered to be a major vocal work. St. Ita’s Vision Heaven’s High King “I will take nothing from my Lord,” To Whom the light birds said she, With no soul but air, “unless He gives me His Son from All day, ev’rywhere, Heaven Laudation sing. In the form of a Baby that I may nurse The Monk and His Cat Him.” So that Christ came down to her in the Pangur, white Pangur, form of a Baby How happy we are And then she said: Alone together, “Infant Jesus at my breast, Scholar and cat. Nothing in this world is true Each has his own work to do daily; Save, O tiny nursling, You. For you it is hunting, for me study. Infant Jesus, at my breast, Your shining eye watches the wall; By my heart every night, My feeble eye is fixed on a book. You I nurse are not You rejoice when your claws A churl but were begot Entrap a mouse; On Mary the Jewess by Heaven’s I rejoice when my mind Light. Fathoms a problem. Infant Jesus, at my breast, What King is there but You who could Pleased with his own art, Give everlasting Good? Neither hinders the other; Wherefor I give my food. Thus we live ever Sing to Him, maidens, sing your best! Without tedium and envy. There is none that has such right Pangur, white Pangur, To your song as Heaven’s King How happy we are Who ev’ry night Alone together, Is Infant Jesus at my breast.” Scholar and cat.

The Crucifixion Sea-Snatch At the cry of the first bird It has broken us, it has crushed us, it They began to crucify Thee, O Swan! has drowned us, Never shall lament cease because of O King of the star-bright Kingdom of that. Heaven; It was like the parting of day from The wind has consumed us, swal- night. lowed us, Ah, sore was the suff’ringbrone As timber is devoured by crimson fire By the body of Mary’s Son, from Heaven. But sorer still to Him was the grief It has broken us, it has crushed us, it Which for His sake has drowned us, Came upon His Mother. O King of the star-bright Kingdom of Heaven! The Praises of God How foolish the man Who does not raise His voice and praise With joyful words, As he alone can, Victor Hely-Hutchinson - Old Mother Hubbard Victor Hely-Hutchinson was an English composer, pianist, and administrator. He taught at the South African College of Music and became director of music at the BBC from 1944 until his death in 1947. With the notable exception of his Carol Symphony, his music is rarely performed. This particular setting of Old Mother Hubbard, a traditional nursery rhyme, is set in the manner of Handel. Old Mother Hubbard, she went to the cupboard To fetch her poor dog a bone, But when she got there, the cupboard was bare And so the poor dog had none. Welcome to the Kennesaw State University School of Music

The School of Music at KSU has dedicated, vibrant, and talented faculty and staff that are completely devoted to teaching, performing, scholar- ship, and serving our community. It is an incredibly exciting place to study, boasting state-of-the-art facilities with opportunities to produce and explore music in a dynamic place that is ahead of the curve for what it means to be a musician in the 21st century. Our students come from the leading musical honor organizations across the region and are poised to lead the cultural offerings and musical education in our area and beyond for years to come. We welcome you to attend a concert, meet our faculty and staff, and feel the energy and excitement that our students exude. We are fully commit- ted to our purpose as educators, performers, and scholars. We hope that you will find as much enjoyment in our product as we do in producing it. Welcome! For more information about the School of Music, please visit www.kennesaw.edu/music Please consider a gift to the Kennesaw State University School of Music. http://community.kennesaw.edu/GiveToMusic

UPCOMING EVENTS

Unless otherwise noted, all events will take place at 8:00 pm in Morgan Concert Hall.

Saturday, May 4, 2013 Community and Alumni Choir

UPCOMING SCHOLARSHIP SERIES

Monday, April 29, 2013 Percussion Ensemble

For the most current information, please visit http://calendar.kennesaw.edu

We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact an audience services representative to request services.